I admit that 'Ariadne auf Naxos'

was much better than expected.
I really went for one, well maybe three, reasons.

One: Susan Graham. I just enjoy her voice. Her composer was all I expected.
I have heard/seen her so many times I lost count, but every time I feel soothed, and filled with warmth  by that unexplainable quality she has -  it is subjective of course!

Two: wondering how Dolgov (seen in Tosca and liked) and Goerke (seen as Ortrud for which did not care much, then) would sound. I honestly admit, I was blown away by Christine Goerke's Ariadne.
Even though her strong big steely voice is still not my cup of tea, her presentation was superb!

Alexey Dolgov was a more than adequate Bacchus. But at times seemed to strain to keep his own in duets with Gorke's overpowering Ariadne.

Three: Laura Claycomb: a saucy Zerbinetta with incredible vocal and physical agility, high notes, and enormous breathcontrol. I have seen her sing Handel (and like her rather much in either opera), as Verdi's Gilda (sososo-I know that it not what most thought)  as Donizetti's Lucia (she did wow me with that).

The smaller roles were filled with youthful enthusiasm and pleasant voices by current (Wheeler, Deonarine, Martin, Dyakov, Peake, Touhy) and ex-Studio (Kolbet) members, and other comprimario singers.

The last two times I saw Ariadne, I was underwhelmed and - I admit it - bored by less than inspired conducting, less then adequate singing (truly I don' t even remember who sang - either time),
and a blah staging and sets. Static sets, boring staging!  No sign of the theater within the theater concept..
Neither flashy nortrashy staging! What more need I say.

So, maybe this production had its flaws, very minor ones but overall I like the (is camp the right word?) staging, sets and costumes. They seem traditional, but then this is one opera where traditional (though camp) works for me - LOL!.
I am rather tired of some over the top 'modern' productions in which the directors' will takes precedence over the composers' musical ideas and moods!
So, call me an old foggy!
 I don't care.

I liked this production, especially the end..why chandeliers? Why not-it seems a fitting starry end ;-0!
I liked the theater within an old private housetheater concept.
I liked the onstage set changes and machinery as may have been used way back then!
Liked the 'campy' Echo in the cloud...sung by Brittany Wheeler.

Liked the way Summers coaxed dulcet but also powerful tones from the orchestra.
It's probably only due to having been brought up with the sound of the Vienna Philharmoniker playing Strauss, that the strings seem to miss something, that something that the Vienna Philharmoniker seem to do so well! Did my ears deceive me, or did I hear a note or two from Brahms Lullaby?
Well, never mind. Strauss took it and composed his variations and they did sound lovely, as did the frquent small waltz like movements. 

And then Hugo von Hoffmansthal brought some of that kind of Galgenhumor the Viennese excel in, to the libretto and contents. In the 'funny' parts AND the solemn ones.
After all, Ariadne sees Bacchus (god of Wines!!) as the angel of oblivion, to help her drown her sorrows!
If that is not a bit of irony/sarcasm, I don't know what is! Don't you?
And not only that, but having the Master of the House via his flunky, the Mayor Domo
(a speaking role -Jon Kolbet) demand that an opera seria be merged with a harlequinade!
BECAUSE he paid money for it - and money talks
(and pays for singers and dancers and entertainers, eh?) is sooo ironic!

A spoof on opera seria, diva and divo allures,
composer's self importance,
the 'heart of gold' of a 'less virtuous than she should be' Zerbinetta!
And so on! So it was then and so it still is, don't you think?
Ah, well.. am I reading too much into it? Perhaps.
If you want to know what goes on in this opera, I'll let you google for it ;-)!

Goerke and Dolgov

Kolbet, Graham, Rosel(dancemaster)

 Zerbinetta Troupers: Gleadow, Dyakov, Touhy, Peake and Claycomb

Overall it was a surprise and a very pleasant one! At least I think so!

But honestly, no more Ariadne auf Naxos for a while! The 'third's the charm' as they say,  

and that's it for me!

AND ANOTHER REAL PLEASANT SURPRISE:
In the 2. battle between Airforce and Navy (lol), the Aeros shut out Admirals 2-0 in Round Two Game 2 in Milwaukee with goals by Peters, Wellman, Earl and Gillies, Ortmeyer and Scandella. Hackett getting his FIRST ever play off shut out!
                                                                      GO AEROS.

Three more games for sure right here in Houston TUESDAY, THURSDAY AND FRIDAY!

Dead Man Walking..add this

and walking, and walking!

I had the privilege to attend the final dress rehearsal of Heggie's opera based on the novel (also made into a movie) by Sister Prejean,and afterwards the dead man kept walking. In my mind and in my soul!

The subject is not merely sensational, it certainly causes emotions beyond the visceral.
The visceral does appear first

There is some nudity, violence and profanity.

Compared to what one sees on TV and elsewhere, it's relatively minor.

One feels, as did the parents of the youngsters slain by De Rocher, a thirst for 'biblical' revenge!

One feels Sister Helen Prejean is predisposed to champion the murderer.
Which seems an affront to the desolated parents.

But as the work progresses one comes to realize that belief in God's mercy has a valid presence.
That the death of the murderer does not replace the lives of two slain youngsters.
And it does force one to confront the controversial subject of  the death penalty.

As I have neither read the novel, nor seen the movie,

I came to this work innocent of any preconceived ideas.

What impressed me the most:

The truly spectacular 'tour de force' by Mezzo Joyce DiDonato as Sister Prejean. A role she fills with extraordinary beauty of expression, vocally and as an actor. She is on stage almost the whole time. She produces sounds that seem otherworldly...reaching heights I did note expect to

hear from a Mezzo.

.

Frederica von Stade, in one of her farewell appearances, sings De Rocher's Mother with a clarity of diction, that makes surtitles superfluous, in the photo she is pictured with Jake Heggie, the composer:

Phillip Cutlip, as De Rocher, manages rather well  portraying a crude, defiant man, unrepenting until the very end, when strapped down, he does express his sorrow for the parents.

Suzanne Mentzer, as mother of the slain girl, strikes just the right vocal balance singing with emotional impact.

The cast, comprised of a large children's chorus, extras and
many cameo roles filled adequately, does surprise one with its size. Somewhat unexpected.

(And therein lies a problem, for me at least.
An opera/movie can only make a bald and fixed statement.
It may lack the shadings and interpretations the reader can bring to the book.
Although a musical work can help that some.
The composer, through his choice of music can emphasize emotions, events and actions.
But it is, again, HIS choice).

But I digress, so back to the cast:

Measha Brueggergosman as Sister Rose displayed a pleasant sound, but was IMHO,
too often drowned out by the music and scarcely audible.
Now, this could be due to the fact, that some singers do not sing at full power in rehearsals.
Beau Gibson, as Father Grenville, disappointed me (see above note re rehearsal)
but others may find his voice pleasantly adequate.
Hector Vasquez sang the Warden with a suave and rich baritone sound.
Old and new Studio artists acquitted themselves well.
Michael Sumuel as the forgiving motor cycle cop,
and Jon Kolbet as one of the fathers.
Brittany Wheeler, Kiri Deonarine and Boris Dyakov blended well with the others.
Maestro Summers kept polishing and tweaking orchestral sounds after the intermission,
 in order to bring out the best of Heggies' music.

Ah yes, the music.
Strong, sometimes overpowering.
Full crescendo to suit the emotions on stage.
I think I heard a soupcon of Gershwin, a bit of Bernstein here and  there. 
There was some borrowing of gospel music, some of  American folk and pop tunes.
Some subtly hidden, some openly copied.

Sister Prejean's music was ethereal. Wavering, as her 'human' disgust of the murderer made her doubt that she could help him find solace and salvation. But also firmly expressive conveying 'her' conviction in a merciful God.
I admit feeling a bit inadequate to put into words what I experienced whilst listening and watching.
The subject is controversial for sure.

When looking at the instant comments I see several hmpfs..
While I appreciate that you have read this post...thank you!...
I would like to know what makes you, chers readers, say hmpf.
Do you dislike any subject but hockey?
Do you dislike my impressions?
I would like to know. Afterall, opera causes subjective reactions.
What I experience you may not and vice versa!
So grit your teeth and write in a real comment.